Tag Archives: Berlin (Germany)

September 2018 – upcoming rock gigs – Rumour Cubes, Agathe Max and Dream Logic in London (14th September); Major Parkinson’s European autumn tour (various dates, 26th September to 6th October)

9 Sep

Rumour Cubes + Agathe Max + Dream Logic, 14th September 2018

Like progressive rock before it, post-rock ended up disappointingly short of genuinely inspiring exponents. The blueprint was all very well: retaining rock’s technology and what remained of its countercultural drive while dissolving its rigid methods, its predictable narratives and textures and its conservative exclusions In practise, few could reach (or be bothered to reach) the heights of the movement’s most inspired figures and their new paths: such as Tortoise’s integration of jazz, dub and electronica; Slint’s taut, grinding refusals; Godspeed’s sprawling/brooding scapes of punk-cinema-versus-conservatoire-grandeur; Talk Talk’s mendicant, increasingly hermetic passage from synth-pop to a dissolution of blues, prog and folk into distressed noise and silence; Moonshake’s abrasive post-everything groove and careening samples; Disco Inferno’s angst-ridden music concrete and social challenge. Most post-rockers, then and now, have stuck with a glowering reduction, a boiling-out of rock posturing leaving a glum muted residue of passive riffs and patterns… actually, more of an opt-out than a boil-out; in which say, the impact of Talk Talk’s ‘Spirit Of Eden’ is much-cited but rarely remembered in terms of how it can inform and colour the music, much less for the intimations it can throw up.

Though they’re not overturners – at least, not in the tradition of the bands I’ve cited above – third-generation London post-rockers Rumour Cubes are a welcome exception to the procession of drab refuseniks that make up the bulk of the post-rock movement. It’s probably partly because they’re proud and self-confessed “counter-revolution(aries)”, founded from the start around violin, guitar and electronics and obtaining their rock instrumentation later rather than using and rebelling against it from the start. Their origins, too, stick in post-rock’s teeth. Violinist Hannah Morgan lied about her knowledge of the genre in order to bluff her way into the starting lineup, while guitarist/main composer Adam Stark and drummer Omar Rahwangi were already impatient with its dour restrictions. In an interview with Chaos Theory, Adam’s stated that “as a band we are painfully aware of how boring post-rock can be… what we are trying to do is take what we find amazing about those bands that have influenced us and that are part of our community, and do something new with it.”

What Rumour Cubes have done is in as much in the in the lines of good prog rock as good post-rock – opening the gates to a variety of ingredients and described as a “luminous re-imagining of very many constituent parts” by ‘Louder than War’. As with underrated Aussie unit Apricot Rail, the toned-down interweave of guitars and the Krautrock groove bass often aim for a slow-building pastoral ecstasy while the band seeks a sweet spot that’s more country and roots than graphs and laboratory. The dancing interplay, in particular, between Hannah and viola player Terry Murphy ducks lemony-minimal string textures in favour of something that’s more country hoedown or folk fiddle. Rumour Cubes often hit their own delightful merge-point between the rustic and the highly technological, performing on bowed banjo and (the ubiquitous) post-rock glockenspiel in addition to the guitars, strings, keyboards and percussion, adding brass and harps where they can, and regularly bringing in instruments like the gestural technology of mi.mu gloves, new uses for joystick controllers, software-synchronised video displays and a battery of custom effects pedals to create new textures. Their gigs are, in consequence, joyous and open-ended experiences: collaborations, on and offstage with poets and filmmakers result in

Following two years of silence, and four without new music, Rumour Cubes return to live work via a gig at the Underdog Gallery near London Bridge, in order to premiere a batch of new music (including upcoming single ¡No Pasarán!, which will be out in a few week’s time). Meanwhile, here are some previous bits of Cubery to whet the appetite.



 
A couple of other acts are joining the show – firstly, amplified French acoustic violinist Agathe Max, who fled classical music around twenty years ago in favour of improvised sonic textural music and electrically-enhanced string-drones. Currently playing with Kuro and Mésange, she’s appearing alone on this occasion in order to offer a set of solo violin works. Secondly, Dream Logic: the recent solo project from Adam Fulford (previously known as the guitarist for Bristolian post-rockers This Is My Normal State) It’s pealing, cool-busting stuff which sees Adam all but drowning his own plagent piano lines, guitars and basses in eager tides of yearning orchestral strings and feverish noise clutter, bringing him comparisons to Nils Frahm and to A Winged Victory for the Sullen. This is Dream Logic’s third show (following previous support slots for Orchestra of the Age of Enlightment’s rulebreaking alter-ego the Night Shift and for rebranded ambient post duo VLMV (previously ALMA) and live arrangements usually involve a string quartet: let’s hope he comes up with the goods on this occasion, too.





 
Echoes And Dust presents:
Rumour Cubes + Agathe Max + Dream Logic
The Underdog Gallery, Arch 6, Crucifix Lane, Southwark, London, SE1 3JW, England
Friday 14th September 2018, 7.00pm
– information here and here

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A little later in the month, jumpy and unpredictable Norwegian art-rockers Major Parkinson are dipping into England as part of an autumn European tour presenting their new ‘Blackbox’ album (and which also includes Germany, Switzerland and the Netherlands). A jaggedly muscular alternative pop proposition, Major Parkinson’s music recalls a host of eclectic forebears such as The Monochrome Set and Faith No More: most notably, they’ve become a hit with the sometimes partisan (and often hard-to-impress) Cardiacs fanbase, who appreciate unrestrained complex melodicism and truckloads of energy, and have been up and yelping about this band for a while now.

I can’t really top this for an intro…

“Major Parkinson write tunes. But with influences from across the rock and classical genres (from The Beatles to Cardiacs) and a warped vision of the musical world, their tunes are like no other. You may hear a snippet of an East European folk song, a nursery rhyme, a stage musical, even a rock anthem, all played out on a range of instruments that a symphony orchestra couldn’t muster – synths, strings, old typewriters, brass and reputedly a decommissioned jet fighter engine. The musical scores behind their songs are both monumental and breathtaking – explosive synth and guitar sections that pound at your heart and then instantly make it melt with beautiful choral harmonies, and then drawn in you will dance and sing along as if centre-stage in a West End show.

“With songs too that cover subjects as diverse as Pavlovian hounds to ducks in the pond, the sheer scale and absurdity of the Norwegian band’s extraordinary musical world can only be truly appreciated by seeing their seven-piece stage performances live.”



 
All of the upcoming shows appear to be solo flights for the Major, other than London, Berlin and St Gallen. No news yet on the Berlin guest, but in London support comes (bizarrely, but delightfully) from Sterbus, the quirky Anglophile Italian art-popper similarly beloved of Cardiacs fans and who’s sitting on what promises to be one of 2018’s sunniest and most enjoyable rock albums: he’ll be playing with a band including longterm woodwind-and-vocal sidekick Dominique D’Avanzo, Pocket Gods’ keyboard wizard Noel Storey and Cardiacs drummer Bob Leith. In St Gallen, the gig’s being opened by bouzouki-toting Dutch psych-exotica rockers Komodo, whose music also draws on raga, hip hop, desert blues, rumba and ’60s harmony pop and surf rock.



 
Full dates:

  • The Hare & Hounds, 106 High Street, Kings Heath, Birmingham, B14 7JZ, England, Wednesday 26th September 2018, 7.00pm – information here and here
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Thursday 27th September 2018, 7.00pm – information here and here
  • The Water Rats, 328 Grays Inn Road, Kings Cross, London, WC1X 8BZ, England, Friday 28th September 2018 7.30pm (with Sterbus) – information here and here
  • Soup Kitchen, 31-33 Spear Street, Northern Quarter, Manchester, M1 1DF, England, Saturday 29th September 2018, 7.00pm – information here and here
  • Hafenklang, Große Elbstrasse 84, 22767 Hamburg, Germany, Monday 1st October 2018, 8.00pm – information here and here
  • Cassiopeia, Revaler Str. 99, 10245 Berlin, Germany, Tuesday 2nd October 2018, 7.30pm (with support t.b.c) – information here, here and here
  • Backstage München, Reitknechtstr. 6, 80639 München, Germany, Wednesday 3rd October 2018, 7.30pm – information here, here and here
  • Grabenhalle, Unterer Graben 17, 9000 St.Gallen, Switzerland, Thursday 4th October 2018, 7.30pm (with Komodo) – information here, here and here
  • Orange Peel, Kaiserstraße 39, 60329 Frankfurt am Main, Germany, Friday 5th October 2018, 8.00pm – information here and here
  • ProgPower Europe 2018 @ Jongerencentrum Sjiwa, Hoogstraat 1a, 5991 XC Baarlo, Netherlands, Saturday 6th October 2018, 8.00pm – information here, here and here


 

April/May 2018 – solo tours in Britain/Europe for Kavus Torabi and Cosmo Sheldrake (4th April to 24th May various, with guest appearances from I See Rivers, Paul Morricone, Bunty, V Ä L V E, Peaks, Arch Garrison, Madilan, Stephen Evens, Bovril, Redbus Noface and May The Night Bless You With Heavenly Dreams)

25 Mar

It’s not exactly surprising that Kavus Torabi has finally gone solo. There’s too much hopeful, demanding inventiveness in him ever to submit entirely to the dynamics of a group, despite the fact that he’s currently got at least three on the go, most of them with him at the helm – the brassy lysergically-illuminated avant-pop of Knifeworld; the ritual instrumentalism of Guapo, and the cantering countercultural circus of Gong (transferred onto his lanky shoulders, history and all, following the 2015 death of Daevid Allen).

What’s more surprising is the direction he’s chosen for the first records under his own name (the new ‘Solar Divination’ EP and a full upcoming album for later in the year). A darker, more agrarian take on his psychedelic homeground, this time it’s drumless, bassless, hornless – rinsed clear of the capering squirrel energy he’s shown for twenty-odd years, in order to reveal muted, angsty bones. Mostly based around slow, smoky-lunged harmonium stretches and sparse flotsam drags of guitar chording, this is a more foreboding turn of song, haunted by deaths, loss and disintegrations. It’s never mopey or lachrymose, thank goodness (even in Knifeworld or The Monsoon Bassoon, Kavus knew how to undercut joyous tootling with passing shadows without souring the milk) but these new songs are overcast with sombre vulnerability: the gravel-grain in Kavus’ voice welling up from deeper, ghostlier territories than before.



 
Despite being a couple of decades younger than Kavus, Cosmo Sheldrake has been out on his own for a bit longer. It’s been four-and-a-half years since Cosmo put out anything as part of super-eclectic mongrel troupe Gentle Mystics, but during that time he’s been gently dabbing the release schedules with occasional singles, videos and EPs of his own. Earlier work brought some of the Mystics weird and charming vibe along with it: a homemade-toy, party-in-the-fairy-forest feeling, Cosmo lilting skewed nursery-rhyme verses over softly bouncing weaves of melody. In the videos, he came across as a generous digital troubadour on a set of meandering visitations, playing his lashed-up keyboards-and-tech assemblages for performances in model villages, truck beds, pigsties and fishing boats.

Byronic-looking but Branestawm-minded, Cosmo’s a shed-pop tinkerer and a baffling multi-instrumentalist with a mixed mystical/academic background. Part kid’s entertainer and part hippy-boffin, he has a shamanical nose for the margin between nonsense and connection. More recent efforts (trailing the imminent release of his debut album ‘The Much Much How How and I’) have seen chewier, pacier and poppier songs. The videos, meanwhile, have become an ingenious riot of increasingly theatrical, fantastical and sometimes macabre fabling in which foil monsters swim in canvas seas and giant fluffy headlice run amok. There’s a communal, childlike warmth to what he does: not perhaps a guileless wonder, but a sense of celebration, where fables and singalongs and misadventures become part of the accepted, useful junk with which we build our nests.



 
Kavus’ upcoming tour is a brief series of simmering April dots around England and Wales; Cosmo’s is a more leisurely, lengthy two-month loop, garlanding the British Isles and western Europe. They’re not sharing any shows, or even any venues. The only time they overlap in any respect is on the 25th of April, when they’re playing different but simultaneous one-man shows a stone’s throw apart in Bristol. It would be nice to think of them looking up midset on that one evening, peering across that city-central loop of the Avon, and nodding to each other. Not necessarily natural comrades but, in their way, parallel leywalkers. Each with a bit of Barrett in the back pocket, each with a peculiar charm of innocence, each with fingertips in the otherworldly and the mythic. The uncontainables…

Kavus’ tour also happens to be a chance to catch an intriguing spread of fellow musicians, reflecting the wide body of musical ideas and affinities he touches upon. While in Margate (squeezed into a former Victorian coach house transformed into the Japanese/Alpine cheese dream of a minature theatre), he lines up with two left-field folk acts: the organ-draped, ridge-walking green-chapel psychedelia of Arch Garrison and the mysterious brand-new “wonk-folk” of Bovril (featuring Tuung’s Mike Lindsay). In Birmingham, the bill sharer is Scaramanga Six songwriter Paul Morricone, providing gutsy acoustic songs of fear and brutality with lashing of dark Yorkshire humour. Paul and Kavus also reunite in York for the Tim Smith fundraiser Evening of Fadeless Splendour, alongside the off-kilter art rock of Redbus Noface and the sarcastic-bastard English songcraft of Stephen Gilchrist (a.k.a. Stephen Evens).




 
On his Manchester date, Kavus will be supported by Peaks (Ben Forrester, formerly of shouty slacker-punk duo Bad Grammar and Manc math-rock supertrio Gug, now performing “loop-driven emo pop”). In London, it’ll be V Ä L V E – once an avant-garde solo project (full of belches and found sounds, situational scoring and sound-art jokes) for Kavus’ Knifeworld bandmate Chloe Herington, now an increasingly ubiquitous three-woman live trio (evolved and evolving into a warm-hearted feminist/Fluxus/Rock In Opposition massing of harps, bassoon, punk bass and singalong bunker-folk). In Leeds, Kavus plays the quiet support act in a free gig for tintinnabulating Sheffield post-metallers May The Night Bless You With Heavenly Dreams (whose echoing tremstrumental pinings add a little magical shimmy to the usual doleful post-rock astronomy) and Bristolian experimental rockers Madilan (whose songs recall both the angst-shredded psychedelic night-journeys of Oceansize and also, in their spindly electronics and Autotuned vocal musing, post-Oceansize rocktronicists British Theatre).




 
In contrast, most of Cosmo’s dates are solo – possibly because once he’s unshipped his assorted instruments and gizmos (from euphoniums and banjos to loop pedals and pennywhistles), there’s not much room for anyone else in the dressing room. Nonetheless, support for eight of the European April dates comes from Liverpool-based Norwegian girl trio I See Rivers, who wed their outstanding and eerily resonant Scandinavian vocal harmonies, sunny dispositions and scanty guitar to their own balloon-light, touching folk-pop songs and to heart-thawing covers of Daughter (Medicine), George Ezra (Budapest), and Whitney Houston (‘80s wedding fave I Wanna Dance With Somebody).



 
For the London album launch for ‘The Much Much How How and I’, Cosmo and I See Rivers are joined by Bunty“multi-dimensional beat merchant and vocal juggler” Kassia Zermon. Also to be found fronting jazz/junk/folk trio Le Juki, co-fronting dub act Resonators, and co-running Brightonian experimental label Beatabet, Kassia’s run Bunty for years as a loopstation-based “one woman electro-orchestra” bolstered by her multi-instrumentalism and vivid imagination. Parallels with Cosmo are clear (the looping and beatboxing, a life blossoming with social art initiatives and therapeutic work beyond the entertainments) and she guests on one of the ‘Much Much’ tracks (very much an equal passing through, with a cheeky hug and a bit of upstaging), but her own vision is distinct. Giddier, jazzier, less directly English in its whimsy, with input from her Moroccan heritage and from her taste for Andy Kaufman; a slightly more cosmic playbox; imaginary languages; an undiluted Brightonian fabulosity.

Kassia’s last Bunty album, ‘Multimos’, was a pocket-sized multimedia event spanning apps, interactive AV, dream machines, audience choirs and gaming cues. Time and occasion will probably only allow a smidgin of that, this time around, but it’ll be a window onto her explosively colourful world.



 

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Kavus’ full tour dates:

 

Cosmo’s full tour dates:

  • More Human Than Human @ The Haunt, 10 Pool Valley, Brighton, BN1 1NJ, England, 4th April 2018, 7.00pm (+ I See Rivers) – information here and here
  • Village Underground, 54 Holywell Lane, Shoreditch, London, EC2A 3PQ, England, Thursday 5th April 2018, 7.30pm (album launch, with Bunty + I See Rivers) – information here and here
  • Soup Kitchen, 31-33 Spear Street, Northern Quarter, Manchester, M1 1DF, England, Friday 6th April 2018, 7.00pm (+ tbc) – information here and here
  • Headrow House, 19 The Headrow, LS1 6PU Leeds, Saturday 7th April 2018, 8.00pm – information here, here and here
  • Fluc + Fluc Wanne, Praterstern 5, 1020 Vienna, Austria, Austria, Monday 9th April 2018, 8.00pm (with I See Rivers) – information here and here
  • Feierwerk, Hansastr. 39-41, 81373 Munich, Germany, Tuesday 10th April 2018, 7.30pm (with I See Rivers) – information here and here
  • Artheater, Ehrenfeldgürtel 127, 50823 Cologne, Germany, Wednesday 11th April 2018, 8.00pm (with I See Rivers) – information
  • Molotow, Nobistor 14, 22767 Hamburg, Germany, Thursday 12th April 2018, 7.00pm (with I See Rivers) – information here and here
  • Lido, Cuvrystrasse 7, 10997 Berlin, Germany, Friday 13th April 2018, 8.00pm (with I See Rivers) – information here and here
  • Paradiso, Weteringschans 6-8, 1017SG Amsterdam, Netherlands, Tuesday 17th April 2018, 7.30pm – information here and here
  • Exchange, 72-73 Old Market Street, Bristol, BS2 0EJ, England, Wednesday 25th April 2018, 7.30pm (+ tbc) – information here and here
  • Ancienne Belgique, Anspachlaan 110, 1000 Brussels, Belgium, Friday 27th April 2018, 8.00pm – information here and here
  • Ninkasi Gerland Kafé, 267 Rue Marcel Mérieux, 69007 Lyon, France, Wednesday 2nd May 2018, 8.30pm – information here
  • Point Éphémère, 200 Quai de Valmy, 75010 Paris, France, Thursday 3rd May 2018, 8.00pm – information here and here
  • Unplugged in Monti @ Black Market Art Gallery, Via Panisperna 101, Rione Monti, 00184 Rome, Italy, Wednesday 9th May 2018, 7.00pm – information here
  • Serraglio, Via Gualdo Priorato 5, 20134 Milan, Italy, Thursday 10th May 2018, 9.00pm – information here and here
  • Freakout Club, Via Emilio Zago, 7c, 40128 Bologna, Italy, Friday 11th May 2018, 9.00pm – information here
  • The Hug and Pint, 171 Great Western Road, Glasgow, G4 9AW, Scotland, Tuesday 22nd May 2018, 7.30pm – information here and here
  • The Globe, 125 Albany Road, Cardiff, CF24 3PE, Wales, Wednesday 23rd May 2018, 7.30pm – information here and here
  • Plug, Sheffield, Thursday 24th May 2018, 7.30pm – information here, here and here

 

November 2017 – Cosmo Sheldrake’s new album news and European mini-tour (17th-30th November) including an appearance by Jenny Moore’s Mystic Business

11 Nov

Cosmo Sheldrake, 2017

Fresh off a September tour with ex-Bombay Bicycle Club frontman Mr Jukes (and an October one with actor-folkie Johnny Flynn and Holly Holden Y Su Banda), one-man experimental pop orchestra Cosmo Sheldrake is finally gearing up to release his debut album. He’s celebrating with an entirely premature string of headlining dates in England, Germany, France and Switzerland during the second half of November.

They’re only premature in that the album’s still at least a season away, but why stop when you’re on a roll? “Am soooooo happy to announce my debut album ‘The Much Much How How And I’ is finished… it has been a very long time coming. Three years in the making! I’m very excited and can’t wait to have it out in the world.” Though this isn’t happening until 6th April 2018 (on the Transgressive label), pre-orders are here if you’re already intrigued – and meanwhile, you can take a peek at the hilarious, macabre Josh Allott-directed video for one of the tracks, Come Along, which “explores the experience of both having head lice and being a head louse. Microscopic worlds expand and consume the world of the large. Human heads become continents, scalps become landscapes, salons become solar systems. Come along now.”


 

With its skewed but loosely unified focus on nature, myth, science and intuition, both song and video are typical of Cosmo’s work – an generous and omnivorous corpus enveloping traditional folk and glitch mashups; hipster chic and novelty records; Bjork, Bobby McFerrin and the Fariñas; process music, Partch and prog; rhymes, reels and street parties; old Lomax recordings, beatboxing and Edward Lear. Cosmo himself is an extraordinary collagist and multi-instrumentalist whose roster includes thirty or so instruments (from guitar and piano to samplers, euphonium and duduk topped off with the distinct, lilting and mustardy twang of his vocals) and who’s spurred by a restless urge to reinvent anything he touches and any place that he plays. He’s been rumoured to pursue extinct animal recordings in order to get the noises and voices he wants, so not even death is an obstacle to curiosity. Of course, as one of the children of therapist and vocal shaman Jill Purce and of rebel biologist/parapsychologist Rupert Sheldrake, he’s long been growing in interesting soil. In many respects, it’s hardly surprising that he’s turned out the way he has.

As the further video clips below show, Cosmo is not someone whose talents and ideas are best contained by a support slot. It’s best to see him when he’s more in command of the evening, even if he’s just up on a little stage somewhere rather than out there subverting a swimming pool or model village, capering in front of a brass band or preparing to keelhaul an accordion.






 
Here are the live dates:

Fresh news in for the London gig – as well as a DJ set from Gentle Mystics (like Cosmo, unpeggable underground everything-ists whose own records yaw wickedly and knowingly between Balkan folk, Brit-hop, 2 Tone, Eartha Kitt and occasional world/prog/folk re-arrangements of Stravinsky), there’ll be support via a performance of Jenny Moore‘s ‘Mystic Business’, emphasing just how far Cosmoworld stretches from the average pop show. A member of drum-heavy art/femme/punk/party trio Charismatic Megafauna, Jenny works across a variety of performance art fields from radio show to performance installations, turning up live investigations of artistic responsibility, sexual “humanifestos“, proposals for rock operas and more.

‘Mystic Business’ is one such project: originally a set of communal workshopped songs for percussion and voices which explore and shows off a range of expressio. These range from single-voice-and-slapped-thigh rap to involved group-drumming chorales and minimalist loft-music singalongs (like post-Riot grrrl echoes of Philip Glass and Arthur Russell). Topics explored include body politics, doubts/immediacy/questioning, ripples of revolt, premature ejaculation and marimba-assisted paeans to feminist science fiction hentai. See below for a five-minute excerpt (a kind of post-structuralist spiritual/canon) and for the full forty-two minute version. I’ve no idea how this might work in the more structured context of a formal gig, but I’m sure that Jenny will come up with a new twist.

 

April 2017 – upcoming ambient/textural gigs in London, Stroud and Berlin – two ‘A Gift for the Ephemerist’ shows with Andrew Heath, Anne Chris Bakker, Romke Kleefstra and Jan Kleefstra (14th & 15th); Luke Howard in London and Berlin (19th, 20th) plus Charlie Coxedge. Plus a nod to the Fat Out Festival in Salford (14th-16th)

6 Apr

Four upcoming shows from the more elegant, pianistic end of ambient (although guitar noise is never far away)…

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'A Gift For The Ephemerist', 14th & 15th April 2017

‘A Gift for the Ephemerist’: Andrew Heath & Anne Chris Bakker + Kleefstra|Bakker|Kleefstra

  • IKLECTIK, Old Paradise Yard, 20 Carlisle Lane, Waterloo, London, SE1 7LG, England, Friday 14th April 2017, 8:00information
  • Secret Garden @ The Museum in the Park, Stratford Park, Stratford Road, Stroud, Gloucestershire, GL5 4AF, England, Saturday 15th April 2017, 12.00-3.00pm – free event – information here and here

“In 2015, an invitation from Aqueous synthesist Andrew Heath to Anne Chris Bakker (to play in the UK as part of a Resound performance) cemented a friendship and mutual admiration of each other’s music. Early the following year, Andrew visited Chris in the north of the Netherlands for a week of inspired improvisation – spending their time gathering field recordings, composing and of course, cycling. Combining Bakker’s beautiful bowed guitar and Heath’s quiet and minimal piano and textures, the collaboration has produced no less than two exquisite albums – ‘The Ephemerist’s Collection’ and ‘Lichtzen’. Pause and contemplate, for here are immersive driftscapes which shimmer and pulse with fragile, half-glimpsed melodies.

“Combining improvised dark-ambient with spoken word, Kleefstra|Bakker|Kleefstra is the work of Anne Chris Bakker with fellow experimental guitarist Romke Kleefstra plus poet Jan Kleefstra. The trio have worked together for several years – following their debut album ‘Wink’ in 2009, they played throughout Europe and Japan. ‘The Wire’ wrote about the trio: “two guitarists construct an icy enclave out of frozen drones and amplifier crackle, a veritable Fortress Of Solitude whose isolation is further emphasised by the poet’s intimately close-miked tones and distant echoes, giving an acute impression of expanses and depths both internal and external.” K|B|K have also collaborated with Peter Broderick, Nils Frahm, Greg Haines and Machinefabriek.”




 

Note also that Kleefstra|Bakker|Kleefstra will be playing on the 16th April at the Fat Out Festival in Salford – a pretty stunning array of musical experimentalists, noiseniks, avant-jazzers and more, running between the 14th and the 16th, and featuring far more contributors and collaborators than I can hope to pin down in a single blogpost anymore, let alone a shared one. If you’re in the area and sufficiently clued up, you’ll know about this avant-art ferment already. If not, it’s not too late to jump in – all details are here.

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Luke Howard, 19th April 2017“Melbourne-born composer and pianist Luke Howard (joined by Australian jazz drummer Daniel Farrugia) presents a selection of solo piano and ambient works from his records ‘Sun, Cloud’ and ‘Two Places’.

“Luke studied classical piano as a child before graduating with honours from the Victorian College of the Arts. He was twice a finalist in the Montreux Jazz Festival Solo Piano Competition and has written music for both film and theatre. In 2013 he released the Australian Music Prize long-listed record ‘Sun, Cloud’. Luke’s score to ‘ Where Do Lilacs Come From ‘ won Best Music for a Short Film at the 2014 APRA/AMCOS Screen Music Awards. His second solo album, ‘Two Places’, was released in April 2016.

“Dividing his time between Europe and Australia, in recent years Luke has opened for Benjamin Clementine and Ben Frost, and performed with artists as diverse as Lior and Jeff Mills. His music has been described as “totally sublime” (‘Headphone Commute‘, February 2014), “absolutely heavenly” (Mary Anne Hobbs of BBC Radio 6, July 2013), and “cinematic in its approach” (‘The Age‘, October 2009).”



 
The month’s pair of dates:

  • Bush Hall, 310 Uxbridge Road, Shepherds Bush, London, W12 7LJ, England, Wednesday 19th April 2017, 7.30pm (with Charlie Coxedge) – information here and here
  • Lido Berlin, Cuvrystraße 7, 10997 Berlin, Germany, Thursday 19th April 2017, 8.00pm – information here and here

In London, support comes from Charlie Coxedge (a.ka Charlie Cocksedge of Money), who’ll be performing solo sets of looped guitar music.



 
The London Howard/Coxedge show is another of the gigs repositioned following the sad and sudden closure of the Forge in Camden (see also the BC Camplight show at St Pancras Old Church the following day). It’s comforting to see that the artists can be accommodated so quickly rather than just having holes blown in their schedules; although it doesn’t entirely make up for the loss of a great venue and the closure of all of the work that went into building it up.
 

November 2016 – upcoming gigs – electronics and harps and balloons – Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O’Dwyer in London (1st); Judy Dunaway’s inflatable European tour (1st to 30th)

28 Oct

Here’s some close-to-the-event news about an imminent avant-garde, fringing-on-noise event in Hackney; plus news on one of the oddest upcoming tours that I’ve ever had the pleasure of previewing in here.

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Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O'Dwyer at St Johns Hackney, 1st November 2016

St John Sessions present:
Morton Subotnick + Kevin Drumm & Jason Lescalleet + Áine O’Dwyer
St John at Hackney Church, Lower Clapton Road, Clapton, London, E5 0PD, England
Tuesday 1st November 2016, 7.00pm
– information here and here

Full description scrounged from various press releases:

“Innovators and sonic architects come together for a St John Sessions performance.

Morton Subotnick is a true electronic pioneer who has worked extensively with interactive electronics and multi-media performance (often in collaboration with his wife, vocal virtuoso Joan La Barbara). With Pauline Oliveros and Ramon Sender, Subotnick co-founded the San Francisco Tape Center, an influential cultural organisation and electronic music studio. The Centre was instrumental in the invention and development of the Buchla synthesizer and was, in turn, a fundamental influence on all electronic music that followed.

“Subotnick is an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part, or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre. Tonight, Subotnick performs a solo set on the Buchla synthesizer – undulating, moving and almost psychedelic.


 
“Preceding this performance, we are pleased to present the debut UK performance from Kevin Drumm and Jason Lescalleet. Emerging from Chicago’s improvised music scene during the 1990s, Kevin became one of the world’s pre-eminent prepared guitar players, later expanding his work to include electroacoustic compositions and live electronic music made with laptop computers and analog modular synthesizers. His early recordings contain mostly sparse, quiet sounds; recent works have been more loud and dense. For twenty years, Jason has been making electro-acoustic sound work, using all manner of source material to engage listeners in both site and narrative by providing a rich and physical sense of place. Two formidable musicians and performers in their own right, their collaborative releases on Erstwhile Records create a soundworld that is at turns beautiful and terrifying, comprising ambient recordings and brooding drone.


 
“Irish musician Áine O’Dwyer creates chance- and improvisation-based compositions, and has performed widely as a solo artist on harp, organ and various objects, and also regularly performs with United Bible Studies, Charlemagne Palestine and Mark Fry. Her album of improvised church organ music, ‘Music for Church Cleaners’ (released on MIE last year), received critical acclaim. Here, she brings her idiosyncratic approach to composition to sacred space once more.”


 
* * * * * * * *

You might not have thought that a person could still bring what’s essentially a party trick into culture houses and make a career of it; but if so, Judy Dunaway is proving you wrong…

Judy Dunaway, 2016

“Judy Dunaway performs avant-garde compositions and free improvisations on amplified latex balloons played as musical instruments. She is known internationally as a ‘virtuoso of the balloon.’ She plays a variety of shapes and sizes of balloon instruments, each with its own special qualities, pushing the extremes of both pitch range and artistic limits. Her large rubbed ‘tenor’ balloon gives Jimi Hendrix’s guitar a run for the money and her giant balloon pulsates into the depths of the subaudio. Her abstract music and sounds are difficult to equate with other forms, depending upon the perception of the individual like the images seen in fire or clouds.”

Below are a couple of videos – one of which is an overview of Judy’s techniques and approaches as regards her ballooning skills (including audience interaction), and one in which she performs uninterrupted.



 
I’ll admit that (as with most friction-based instrumentation which leans over the borderline into readymade art) listening to this kind of material can end up as a test of endurance in which your mileage and tolerance, plus the outcome, may vary. As far as I know, no-one’s yet tried to tune and tour a scraped blackboard. Yet ultimately, Judy’s commitment to this kind of music making is fascinating. No one-trick pony, she also worked as a guitar-toting singer-songwriter on other occasions up until 1995; but she’s entirely serious about ballooning – publishing papers on her approach, making points about microtonality, and collaborating with string quartets on serious avant-garde compositions. Having mastered a variety of dextrous noise-making techniques which drive the amplifed latex into flexible, cunningly-controlled roars and squeals, she invites us to reconsider a balloon (quite legitimately) as an “orb-shaped string”.

On the other hand, she’s also integrated vibrating dildos into her balloonwork (in one case via a piece called Flying Fuck), so there’s clearly a downtown New York sense of humour at work as well.

Full dates for the European Solo Balloons Tour below:

 

October/November 2016 – upcoming gigs – a European tour for dEUS-affiliated TaxiWars jazz band (25th October to 14th November) with support slots by fellow dEUS-ers Rudy Trouvé and Mauro Pawlowski plus Olivier Lamblin’s Red project, Tape Cuts Tape, Gianluca Petrella and the Sylvie Courvoisier Trio

23 Oct

This coming week, dEUS singer Tom Barman and saxophonist Robin Verheyen launch a European tour for their art-rock/narrative-tinged jazz band TaxiWars, taking in the Netherlands, England, France, Germany, Austria and Belgium.


 
Completed by two of Robin’s fellow New York-based Belgian jazzmen (double bass player Nicolas Thys and rising drummer Antoine Pierre) and partially inspired by Tom’s tendency to immerse himself in old Blue Note and Impulse label records when on dEUS downtime, TaxiWars have a motile smooth/gruff sound. They focus on structures, scenes and subleties rather than solos; taking sparks and smoulders from Charles Mingus, Art Blakey, Max Roach, Pharoah Sanders and Artie Shepp (while, on the pop side, padding after the demi-monde restlessness of Morphine and Prince). The band’s second album, ‘Fever’, came out earlier this month.


 
Dates:

Here’s a full TaxiWars set from last year:


 

For most of the dates the band seem to be playing alone (in jazz-friendly mid-to-late night sets), but some of the gigs feature guest performers in support slots. What’s happening at their two English shows remains a bit of a mystery, even a handful of days beforehand. For the tour debut in Lille, they’re supported by Red, the lo-fi Franco-Americana project by genre-restless experimental musician Olivier Lambin, featuring what he refers to variously and obscurely as “unprivate blues” containing ingredients like “hack analog electro, wooden guitar, the noises of planets and stars.” (On record, much of it sounds like home recordings interpenetrated by eerie and slightly disturbing sonic moods, offsetting the gentleness of the singing with a disreputable, disassociative air. I’ve no idea how he’ll work that kind of grubby magic live…)



 
Back in Belgium, TaxiWars’ show at Evergem will also feature solo sets from two of Tom Barman’s dEUS colleagues – the band’s early-‘90s guitarist Rudy Trouvé and its current-but-soon to-depart guitarist (and Evil Superstars frontman) Mauro Pawlowski. Rudy promises “an intimate set interrupted by animation… something between classic singer-songwriter action and a ‘70s evening with slides”, while Mauro isn’t promising anything in particular besides “new and old work in a crisp, casual and funny way”. However, the two men (both promiscuously-collaborating Belgian art-music veterans who’ve played together extensively in both Love Substitutes and Kiss My Jazz) are holding out the prospect of a collaborative duet – perhaps in the line of their duet set in Oude Beurs at the start of the month. Tasters from both Rudy and Mauro are below.



 
Rudy will reappear for three of TaxiWars’ four appearances at Belgium’s multi-town, multi-venue Autumn Falls festival, in which he’s playing support again as part of regular improvising trio Tape Cuts Tape. A collaboration with Lynn Cassiers and Eric Thielemans, they’re now onto their third record of kosmiche-and-dub-inspired drone-grooves, re-wrangled baroque chamber influences, spacious experimental sound-stagings and unexpectedly tender tunefulness.


 
The first of the Autumn Falls shows (in Brussels) also sees TaxiWars sharing the bill with some serious jazz talent. There’ll be a set from the award-winning young Italian jazz trombonist Gianluca Petrella – since he’s playing solo, expect a set with copious loops, processing and effects. There’ll also be one by Swiss-born/Brooklyn-based pianist, composer and improviser Sylvie Courvoisier, featuring her trio with drummer Kenny Wollesen and bass player Drew Gress (a lineup which, in addition to Sylvie’s prolific work as a leader or co-leader, encompasses work with Sonny Stitt, John Zorn, Cab Calloway, Tim Berne, Jack DeJohnette, Tom Waits, Norah Jones, Bill Frisell and Ellery Eskelin).



 

September 2016 – upcoming gigs – Hans-Joachim Roedelius, Andrew Heath and Christopher Chaplin in Stroud (15th); Daylight Music returns to London with Michele Stodart, Alright Gandhi, Alev Lenz and Joli Blon (17th)

1 Sep

Towards the middle of the month, there are opportunities to see a German kosmische pioneer playing up in the quiets of Gloucestershire, and to catch the return of Daylight Music semi-acoustica to London. Read on…

* * * * * * * *

Hans-Joachim Roedelius

Stroud Valleys Artspace/Resound presents
Hans-Joachim Roedelius + Andrew Heath + Christopher Chaplin
The Brunel Goods Shed, Station Approach, Stroud, GL5 3AP
Thursday 15th September 2016, 8.00pm
– information here and here

“Resound presents a fantastic opportunity to see a true pioneer. Hans-Joachim Roedelius – the Godfather of Ambient – is a pioneer in the field of the exploitation of electrically generated tones, sounds and noises. One of the founders of contemporary popular electronic music, he was a key player at the birth of kosmische, Krautrock, synthpop and ambient music. Onetime collaborator Brian Eno describes him as “one of the true originals of modern music. His delicate and wistful compositions seem to come from some long and secret musical tradition – like the meditations of Sufi poets, or the haikus of Zen monks.”

Hans-Joachim Roedelius

Hans-Joachim Roedelius

Roedelius’ collaborations with Eno, Dieter Moebius, Michael Rother and many others (in groups such as Cluster, Harmonia, Geräusche and PlusMinus) are at least the equal of the more well-known innovations of German cohorts Tangerine Dream, Kraftwerk and Can. His forty-plus solo albums are just as radical in seeking an unlikely reconciliation with the past – cross-wiring Krautrock’s brutalist modernism with an earlier strain of Teutonic enquiry, melding weird improvised electronica with folk, jazz and classical sounds to often stunning effect.

Roedelius has also worked as nurse, physiotherapist, masseur, escort of the dying, writer, poet, photo-collage-artist, producer and curator.”

Playing at Stroud’s Goods Shed for the second time (the first was in 2012), Roedelius will be joined by two of his latterday collaborators.


 
Andrew Heath initially came to attention as half of the ’90s ambient keyboard duo Aqueous (who recorded 1997’s ‘Meeting The Magus‘ with Roedelius) in which he was the digitally-inclined partner of quixotic analogue player Felix Jay. Following Felix’s retirement, Andrew has continued various aspects of the Aqueous project in both visual and musical forms, seeking to “introduce both the listener and the viewer, to a sonic and visual hinterland… a dreamlike state that lies somewhere between sleeping and waking.”


 
Christopher Chaplin spent most of his early career as an actor (in keeping with his family heritage – he’s one of the sons of Charlie Chaplin). However, his personal artistic roots are as a pianist – having studied, as a young man, under Irène Dénéréaz in Vevey. In 2005, Christopher reorientated towards work as a composer and musician, working variously on theatre music and orchestral string pieces, but also with Viennese electronic musician Kava. In 2011, he was personally chosen by Roedelius to record and remix one of the latter’s live piano sets: the results led to further collaborations including the ‘King Of Hearts’ album in 2012 and further concerts played around the world. In October 2016, he releases his solo album debut, ‘Je suis le Ténébreux’.



 

* * * * * * * *

Daylight Music #232A couple of days later, in London, ‘Misfit City’ favourite Daylight Music starts up its autumn season of pop, acoustica, classical crossover and electrophonic treats, all packaged up for the Saturday lunchtime crowd.

Arctic Circle presents:
Daylight Music 232: Michele Stodart + Alright Gandhi + Alev Lenz + Joli Blon
Union Chapel, 19b Compton Terrace, Islington, London, N1 2UN, England
Saturday 17th September 2016, 12.00pm
– free event (suggested donation: £5.00) – information

What they’ve told us, so far, about the lineup…

Michele Stodart has taken temporary leave of The Magic Numbers to release her second solo album. Brushed with country and blues, her beautiful, intimate music will hold you close while breaking your heart.

Alright Gandhi came together in 2014, meeting and meshing during chaotic underground jam sessions in Berlin; rather than making experimental music, they claim they’re making music that likes to experiment.

Alev Lenz is a remarkable songwriter, composer and singer, whose music fuses filmic, world and classical influences. Her bittersweet voice and utterly personal lyrics combine with inspiring hooks that take you by surprise.

Joli Blon are a British Cajun band, who’ll have you tapping your toes with traditional Louisiana dance tunes.”


 

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